By: David Schultz

Okkervil River’s Will Sheff isn’t impressed with perfection. Much like Wes Anderson’s cinematic explorations of the flawed beauty of the insecure personality, the Austin-based singer-songwriter writes literate songs from the point of view of the distinctly non-Alpha male (and female) as well as those with a distinctly “Positively 4th Street” edge to them. Singing in an imperfect voice, Sheff doesn’t hide much when he’s on stage. Wearing his emotions on the sleeve of his natty attire, Sheff’s unreserved performance was the most memorable part of Okkervil River’s return to New York City for two shows at Webster Hall.

Okkervil River’s Monday night show was hardly a pretext for a Will Sheff showcase. Compelling as they are, Sheff’s astute observations and captivating stage presence may account for a great deal of Okkervil River’s growing appeal but they aren’t enough to carry an entire two hour set. When left to bear the brunt of song, Sheff’s limitations become more pronounced: the cracks in his voice are more noticeable and less endearing and the simplicity of the song structure is a little more evident. That’s why Okkervil River is a great band, though. When bolstered by Charles Bissell – The Wrens’ guitarist who’s filling in while a permanent replacement for Brian Cassidy is being sought – bassist Patrick Pestorius, Justin Sherburn, Scott Brackett, Laura Gurgiolo’s mandolin and Travis Nelson’s drums, Sheff can play to his strengths, allow his idiosyncrasies to evolve into endearing charms and let the rest of the band brilliantly gel behind him. It's also why Okkervil River has endured over the past decade and attained their current level of success.

Along with the Crooked Fingers, Black Joe Lewis and The Honey Bears opened the night. Reviving the wonderful traditions of James Brown’s rock and soul revue, Lewis provided a real treat for those who arrived early. A star in the making, Lewis sang with the fervency of Otis Redding on “Bitch I Love You” and brought the Bar-Kays drenched soul with “Gunpowder” all while laying down concise blasts of R&B guitar with masterful skill. The room might have been a little bit large for the band but Lewis & The Honey Bears had the crowd dancing and whooping it up with them. Along with Eli Reed & The True Loves, Lewis & The Honey Bears are at the forefront of a veritable soul revival.

Okkervil River’s set focused on the recently released The Stand-Ins but the finest moments came during The Stage Names material with the best reactions occurring when they offered selections from Down The River Of Golden Dreams and Don’t Fall In Love With Everyone You See. The Stand-Ins resumes the discussion begun in 2007 on their critically beloved The Stage Names. The portions of the show devoted to the new album had their moments, significantly a moving rendition of “Blue Tulip,” and fine renditions of “Starry Stairs” and “Lost Coastlines” that received a boost from The Honey Bears’ horn section joining Becket to add the proper flourishes and embellishments. However, it fails to live up to the bar they’ve set for themselves on The Stage Names. On the opening “Plus Ones” and the set closing versions of “Our Life Is Not A Movie Or Maybe” and “Unless It Kicks,” the music pulsed with an energy absent from the others. To wit, “A Girl In Port,” with the full horn section bittersweetly complementing Sheff’s baleful wail, provided the night’s emotional high point.

It’s probably blogging blasphemy to praise an artist’s previous album at the expense of their latest, although I think legions of bands would love to be able to rest their laurels on a disc as fine as The Stage Names and generate that type of excitement. Sheff and Okkervil River have such a wealth of material at their fingertips and such a bright future that it will hardly be a burdensome cross to bear.

Labels: Black Joe Lewis, Okkervil River